Museum Workers Unite - University of Illinois at Chicago...Museum May Day was to take place on International Workers Day, May 1, 2020, a day chosen to commemorate the Haymarket Square

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18ndash29

30ndash34

35ndash42

43ndash44

Contents Introduction

LABOR Labor Acknowledgements Know Your Rights Labor Union Reading List Museum Worker Resources 12 Sites of Memorial to Labor History Figures amp Movements Labor Leader Trading Cards Interviews

OPINION How the Other Half Lives

Cultural Workers in the Economy of Inequality With Great Power Comes Total Disregard for Workers

My Life as an Emerging Museum Professional Why Museum Workers Donrsquot Deserve a Living Wage Transitioning Remotely MuseumLayofs

LEISURE Take a Deep Breath and Relax Diaphragmatic Breaths Breathing Deep for Inner Calm Museum May Day Libations Curated ASMR Playlists

ACTIVITIES Labor Crossword May Day Flower Origami Creative Prompts

WHO WE ARE

Works Cited

As I write this museums around the globe are shuttered hundreds of museum employees across the country at institutions like the MoMA LACMA the Portland Art Museum and SFMoMA have been laid of or furloughed The future of museums as we knew them is uncertain None of us in the Museum and Exhibition Studies graduate Public Engagement seminar at the University of Illinois at Chicago could have imagined this pandemic when we set about our plan at the outset of 2020 to create an event centered around museum labor at the Museum of Contemporary Art Chicago

Museum May Day was to take place on International Workers Day May 1 2020 a day chosen to commemorate the Haymarket Square Riot of 1886 an event that started in Chicago as a peaceful protest for the eight hour workday that turned into a violent riot We approached organizing the event in the spirit of solidarity recognition relaxation and above all acknowledging the value of all laborers as full human beings with dignity rights desires and needs In our statement about the event we wrote

In a moment where the value of art and culture and the people who work tirelessly to create uphold and protect it is diminished and questioned let us not forget that we all deserve eight hours for work eight hours for rest and eight hours for what you will

The events of the day will bring museum workers together in solidaritymdashshared meals group discussions moments of collective joy We will highlight the value of relaxationmdasha program that emphasizes mindfulness and movement We will reimagine how we think of labor and provide helpful tools strategies and portable models that workers can deploy in their own institutions so that we might return to our work with a renewed sense of community and an important reminder that we are all in this together

Now many of those in the museum and culture sector whose labor we wanted to uphold and support are without jobs to return to Reading this now I long for the community and solidarity we sought to invoke a togetherness not mediated through screens nor

perforated with this heightened level of fear and anxiety Many want nothing more than for things to go ldquoback to normalrdquo and while I want jobs security and safety for all where we were was not what we should aspire tomdash inequity exploitation greed and legacies of exclusion should not be our measure or our demands or hopes

The oferings put forward here by the MUSE UIC Public Engagement seminar are a small gesture of solidarity a sharing of hope a place of rethinking and hopefully some moments of relaxation and joy These pieces range from worker rights and history proposed museums of labor profles of museum workers to recipes for cocktails inspired by labor movements We are with you in solidarity though we cannot physically be together in the space of a museum on May Day as we planned

What do we want and need for museums to be when they reopen In Arundhati Royrsquos piece ldquoThe Pandemic is a Portalrdquo she writes

Historically pandemics have forced humans to break with the past and imagine their world anew This one is no diferent It is a portal a gateway between one world and the next We can choose to walk through it dragging the carcasses of our prejudice and hatred our avarice our data banks and dead ideas our dead rivers and smoky skies behind us Or we can walk through lightly with little luggage ready to imagine another world And ready to fght for it

What is worth taking with us as we move toward a future for museums Let us leave behind our mistakes our valueless directions our structures and systems of exclusion and oppression Let us walk through this portal lightly together with no one left behind ready to fght for the worlds wersquore already creating

In love and solidarity Jen Delos Reyes Associate Director UIC School of Art amp Art History Chicago IL

Labor As a class assignment inspired by the necessary and critical practice of land acknowledgements the class wrote labor acknowledgements which we imagine could be read at the beginning of public events following a traditional land acknowledgement The labor acknowledgement is meant to bring attention and appreciation for the many often invisible and unacknowledged forms of labor that create sustain and maintain cultural institutions and organizations What follows are several examples from the class We encourage you to adopt and adapt these

Welcome and thank you all for joining us today for this event Before we begin our program I would like to take a few moments to call attention to the critical contributions of our partners and employees and to express our deepest gratitude for the time labor creativity and care they have poured into making todayrsquos event a success Without their tireless work endless patience incredible generosity and unbridled enthusiasm I can safely say that this event would not have been possible On behalf of our organization our audience and our wider community we thank you for your labor We see you and we value you as individuals employees collaborators colleagues and friends It is important in our organizational culture to not just nurture and support the amazing talent ideas and innovations of our staf and contractors but also to publicly acknowledge their hard work and afrm the importance of their contributions to our mission Moreover we wish to be fully transparent with you our audience about all of the energy and efort that goes into producing our public programming In this spirit of transparency acknowledgment and solidarity I would like to sincerely thank the following people for their support

mdashHannah Landsman

In the last decade we have seen unprecedented growth in urban development akin to that of the industrial revolution in the 19th century when farms were left behind for tenements and factories For some the industrial revolution in America was a time of unrivaled fortune and growth and pain and erasure for others This unfair balance enabled the American metropolis to become an incubator for endless cultural production coming from all echelons of society From traditional schools of art to the frustrations of blue collar workers art was a lifeline to the booming cities across the nation But not all culture and work was seen as equal History is plagued by a lack of recognition to manual labor women LGBTQ+ individuals and people of color Industrial growth has not been kind in recognizing everyone who kept the cities moving and granted humanity amidst the smokestacks As cities boom once more and what it means to be a worker in America is re-evaluated more than ever the public looks to the arts in this era of hyper-communication and social connectivity for meaning pleasure and direction With this opportunity our collective responsibility is to recognize all the entities involved in our cultural production from the artist to the intern and every person in this spectrum of labor and interdependence who plays a part in delivering preserving and interpreting the art and culture that our world desperately yearns for

mdashJojo Galvan Mora

I want to take this time to recognize the labor that our colleagues volunteers interns work studies part-timers preparators educators contractors and full time staf have contributed and put in so that our doors can remain open our programs running those who ensure that our social media platforms stay active our building be welcoming and clean and more This is a small yet signifcant step in our equity eforts to raise awareness that our roles as cultural arts workers are vital to our arts community I want to acknowledge the fact that our roles and labor do not have to be recognized only in structured formats such as annual performance reviews or staf meetings Labor acknowledgements can remind us that patience is not required to acknowledge the labor that builds these museums and cultural organizations This is something we can all begin to practice with our colleagues and peers I want to acknowledge the role that each and every one of us play no matter what the length of our positions titles or experience may be It is my hope that this also serves as a reminder that we are part of a feld that is populated by people frst and objects second

mdashOnyx Montes

On this occasion we want to acknowledge and pay tribute to the labor that goes into this event this space this room this institution For every creative endeavor there takes labor on the part of workers of every kind The pleasure that comes from expression requires many forms of work that happens behind the scenes of gallery walls and public gatherings We pay respect to labor histories as well as the individuals that made today possible Not only the physical but the mental emotional and historical labor of those who have worked tirelessly to raise voices and address working conditions We want to practice this acknowledgment in hopes that it will raise awareness around people and histories that are often hidden or untold and encourage others to do the same We honor the labor of this specifc moment and the labor it has taken for all of us to be in this place together

mdashAnika Bierig

Know Your Rights American Labor Law 101 for Museum Workers

A guide by Hannah Landsman

All workers should know and understand their rights While in many ways American labor law lags far behind other comparably industrialized nations we do have a number of laws that provide crucial protections for workers In the spirit of May Day and in solidarity with workers everywhere I have compiled a brief primer on some of the more salient labor laws in the United States

This is by no means an exhaustive list nor does it provide a deep dive into any of one of these laws Be advised that most of these laws only apply to employers that meet certain criteria (such as employing 15 or more people or engaging in interstate commerce to name just two examples) so some may apply to your particular workplace or job while others may not Still I hope this will provide a starting point and encourage you to familiarize yourself with your legally protected rights Know your rights and demand that your employers recognize them

National Labor Relations Act (1935) Also known as the ldquoWagner Actrdquo (after the US Senator Robert Wagner who authored the bill) this law seeks to address the undeniable imbalance of ldquobargaining powerrdquo between employers and employees that so often disadvantages workers The NLRA guarantees the right of private sector employees to form trade unions engage in collective bargaining and take collective action including strikes In addition this law also established the National Labor Relations Board an independent federal agency charged with enforcing labor laws regarding collective bargaining and investigating unfair labor practices Section 8 of the NLRA spells out specifc unfair

labor practices for employers employees and unions If you are interested in understanding more about your right to organize a labor union start here

Fair Labor Standards Act (1938) The FLSA might be called the cornerstone of American labor law As one of the key pieces of legislation passed in the wake of the Great Depression this

law fnally established many of the worker rights and protections the Haymarket protestors sought nearly 50 years prior from establishing a federal minimum wage to setting limitations on the duration of workdays and workweeks Perhaps its most crucial provision FLSA ensures the right to overtime pay (time-and-a-half) for certain workers who work more than 40 hours in a given workweek This law defnes two classes of employees in relation to overtime exempt and non-exempt Exempt employees (who are typically salaried) are not entitled to overtime pay while non-exempt employees (who are typically paid hourly) are entitled to overtime pay This law also sets a salary threshold for classifying an employee as exempt in addition to laying out other criteria for this classifcation the US Dept of Labor raised this threshold from $466 per week to $684 per week efective Jan 1 2020

The FLSA also sets age limits for certain types of work and mandates that employers provide breaks under certain conditions among other provisions This law is essential to understanding your basic rights as an employee

Title VII of the Civil Rights Act of 1964 Equal Employment Opportunity One of the most groundbreaking pieces of civil rights and labor legislation in American history Title VII of the 1964 Civil Rights Act prohibits certain types discrimination with regard to any term condition or privilege of employment based on particular characteristics or ldquoprotected classesrdquo This law specifcally prohibits discrimination in employment decisions and actions (including recruiting hiring training promoting transferring disciplining and discharging among others) on the basis of on race color religion sex or national origin Title VII also led to the creation of the Equal Employment Opportunity Commission (EEOC) the federal agency that administers and enforces civil rights laws dealing with workplace discrimination If you ever wish to fle an ofcial complaint of workplace discrimination you will start with the EEOC

Though this landmark legislation represented a giant step forward for basic civil rights and has been amended numerous times in the last 60 years it is by no means as comprehensive as it should be note that sexual

orientation and gender identity for example are not granted protection under this federal law However many states (including Illinois) have expanded legal protections to other classes and characteristics (such as citizenship status and arrest record) not listed in Title VII

Age Discrimination in Employment Act (1967) This law is intended to protect job applicants and employees 40 years of age and older from discrimination on the basis of age in any terms conditions or privileges of employment (such as hiring promotions discharge and compensation) Signed into law by President Lyndon B Johnson in 1967 the ADEA was in part a response to the exclusion of ldquoagerdquo from the protected classes guaranteed protection under Title VII of the Civil Rights Act of 1964

Occupational Health and Safety Act (1970) Intended to decrease workplace hazards and prevent death and injury on the job this act sets basic standards for employee safety in the workplace such as stipulating that employers provide adequate safety training and creating accident reporting procedures This law also established the Occupational Health and Safety Administration (OSHA) the agency within the Department of Labor that sets and enforces workplace health and safety standards Though the law is far too comprehensive to cover even a fraction of its many important provisions here I do want to draw attention to the right to personal protective equipment (or PPE) Employers are required to provide their employees with adequate sanitary and appropriate PPE (such as gloves hard hats or face masks) wherever it is necessary

Pregnancy Discrimination Act (1978) The PDA also amends the Civil Rights Act of 1964 this time by clarifying that discrimination on the ldquobasis of sexrdquo or ldquobecause of sexrdquo includes discrimination on the basis of pregnancy childbirth and related medical conditions in employment matters Interestingly this act defnes pregnancy as a temporary disability in the eyes of the law This defnition often allows eligible pregnant women to fle for short-term disability and receive some compensation while unable to work or may entitle them to reasonable accommodations to allow them to continue working while pregnant However this can create problems if additional disability time is needed to address complications from pregnancy and childbirth to say nothing of the incredibly problematic undeniably androcentric classifcation of a normal (female) biological function as a ldquodisabilityrdquo Critics allege that the repeated use of the word ldquowomanrdquo in the act also has prevented transgender gender fuid and nonbinary people who are biologically able to become pregnant from receiving full protections under the PDA as well

Title I of the Americans with Disabilities Act (1990) This landmark act represents yet another attempt to address conspicuous gaps in the protections aforded by the Civil Rights Act of 1964 In short the ADA prohibits discrimination based on disability in employment transportation public accommodations communications and access to government programs and services Title I specifcally focuses on employment prohibiting private employers state and local governments employment agencies and labor unions from discriminating against qualifed individuals with disabilities in job application procedures hiring fring advancement and other terms conditions and privileges of employment The law defnes a ldquoqualifed individualrdquo as a person who can perform the essential functions of a given job with or without a ldquoreasonable accommodationrdquo Unlike the Civil Rights Act of 1964 the ADA goes a step beyond simply protecting a group from discrimination by mandating that employers provide reasonable accommodations to disabled job applicants and employees provided that accommodation does not impose an ldquoundue hardshiprdquo on the employerrsquos operations

It is important to note that covered employers generally are not required to provide a reasonable accommodation to a disabled employee unless that employee asks for one Moreover what constitutes a ldquoreasonable accommodationrdquo may vary widely by employer job and employee Like many other laws on this list the ADA is an imperfect though important attempt to expand access to equal employment opportunities However despite several amendments over the last few decades the ADA still has a way to go before it truly makes employment more accessible and equitable for individuals with disabilities

Family Medical Leave Act (1993) Lacking though this law might be the FMLA is nonetheless a crucial piece of the patchwork of legal protections for American workers The FMLA provides job-protected leave to eligible employees who require leave from work to tend to their own or a family memberrsquos serious health condition or to bond with a new child as well as for military leave (under certain conditions) The law provides up to 12 weeks of unpaid job-protected leave for a qualifying reason provided the employer falls under the jurisdiction of FMLA and provided the employee has been employed for at least 12 months and has worked at least 1250 hours preceding the request for leave Its most-used function may be coverage for

parental leave for the birth or adoption and care of a new child though as noted above FMLA does not guarantee the right to paid parental leave In some cases FMLA also may be used intermittently to help employees with chronic illnesses or conditions (or employees who must provide care for family members with chronic ailments) manage their health and maintain their employment

Lilly Ledbetter Fair Pay Act (2009) This act takes its name from Lilly Ledbetter a former union worker at the Goodyear Tire and Rubber Company who unsuccessfully sued her employer in the late 1990s over the glaring disparity between her pay and that of her male colleagues upon her retirement Amending the Civil Rights Act of 1964 the Ledbetter Fair Pay Act states that the180-day window to take legal action against your employer for pay discrimination on the basis of your status as a member of a protected class resets with each paycheck afected by that discriminatory action In efect this law removes one barrier (a restrictive statute of limitations) to bringing complaints of unfair compensation practices against an employer

Families First Coronavirus Response Act (2020) Though this law is a broad response to the current global public health crisis several provisions speak directly to worker rights and protections Efective April 1 2020 the FFCRA establishes the Emergency Paid Sick Leave Act (EPSLA) which is intended to help protect families and workers during the COVID-19 outbreak Under the EPSLA eligible employees who are unable to work or telework due to COVID-19 are entitled to up to two weeks of paid sick leave regardless of any leave time earned through their employerrsquos regular leave policies In a stark but important departure from the standard eligibility requirements for FMLA employees are eligible from their frst day of employment

The FFCRA also includes the Emergency Family and Medical Leave Expansion Act which mandates that employers with fewer than 500 workers provide up to 12 weeks of paid leave for employees unable to work or telework because their childrsquos school or day care has closed or their care provider is unavailable due to COVID-19 Employers are not required to pay employees for the frst 10 days of such public health emergency leave

For those who have lost their jobs due to the COVID-19 crisis Title III of the FFCRA temporarily suspends work requirements under the Supplemental Nutrition Assistance Program (SNAP formerly known as the food stamp program) This provision allows participants who would have otherwise become ineligible for SNAP upon the loss of employment to continue receiving those benefts

Labor Union Reading List A guide by Laura Sato

A union is an organized group of workers who work as a collective to improve wages hours and working conditions for all Most museum workers are not unionized In a study done by Bloomberg Law about 121 of all museum employees belong to a union and 126 are on a union contract More than 40 museums in the United States have unions By organizing and being part of a union museum workers can fght towards better wages and for a new contract Unions can also provide the ability for workers to get a seat at the table regarding funds wages and mission of the cultural institution

Here is a list of books and resources that tell the history of labor and unions as well as how to work alongside and in labor unions

HISTORY OF LABOR UNIONS

ldquoThe Rise and fall of Labor Unions in the US From the 1930s until 2012 (but mostly the 1930s-1980srdquo by G William Domhoff In this post Domhof provides a history of labor unions from the 1930s until 2012 and tells the story of unions alongside labor policy

Out in the Union A Labor History of Queer America by Miriam Frank In this book Frank tells the history of qyeer American workers from the mid 1960s to 2013

A History of America in Ten Strikes by Eric Loomis By using case studies of ten strikes Loomisrsquo book discusses the myths and assumptions of the US labor movement

Radium Girls The Dark Story of Americarsquos Shining Women by Kate Moore Moore tells the story of young factory women who fought for better work conditions and for workersrsquo health and safety

Workers on Arrival Black Labor in the Making of America by Joe William Trotter Jr Tells the history and contribution of African-American workers from the 1600s to the present

RESOURCES

What do Unions Do by Eds James Bennett and Bruce E Kaufman This book dives into unions as collective units and how the voice of unions represented labor in the workforce

Industrial Relations Systems by John T Dunlop Dunlop uses his experience as an arbitrator and mediator between unions and the government to recommend that representatives of management and labor unions to sit down together investigate and work to resolve problems

Unions and Collective Bargaining Economic Effects in a Global Environment by Toke Aidt Zafris Tzannatos This reference book talks about the economic efects of unions and of collective bargaining

Beginning Human Relations by Laura Portolese Dias This book discusses various topics to help attain job success Chapters include Handle Confict and Negotiation Manage Diversity at Work and Work with Labor Unions

Rebuilding Labor by Ruth Milkman and Kim Voss By recalling stories of union members Milkman and Voss give suggestions on ways that unions can change their strategies for the better

Museum Worker Resources A guide by Ramsey Hoey

We are experiencing strange unforeseen times at this very moment While socially distanced we all need some extra support right now I am appreciative of my cohort educators and co-workers that jumped in so quickly to help Continuously sharing resources online zoom workshops grant application opportunities as well as guides and workshops for mental well-being and mindfulness I felt supported but also reminded that we are all in this experience collectively Inspired by the support I put together the follow list of resources and events below which pertains too all the multiple roles of labor in the arts community

Museum Workers Speak An activist group Facebook page who discuss improving working conditions and internal practices in museums and cultural institutions [Link]httpswwwfacebookcomMuseumWorkersSpeak

Common Field Common Field posts nation-wide job openings opportunities and programs in the arts Their current online program is Convening runs April 23 through May 3 Convening includes conversations dialogue sessions panels reports from the feld workshops project commissions and All Together sessions [Link]httpswwwcommonfeldorg

Creative Capital - Artists Resources A list of resources for artists working in all disciplines as well as arts philanthropists and arts professionals [Link]creative-capitalorg20200313list-of-arts-resources-during-the-covid-19-outbreak

Sixty Inches from Center Resources in Chicago and across the Midwest Sixty Inches from Center is an online arts publication and archiving initiative they share a large range of recommendations resources and links for artists and arts laborers [Link]httpsixtyinchesfromcenterorgin-case-of-emergency-artist-resources-for-you-for-usfclid=IwAR2k-R0iizwjI36uTRK wrONMfsnlSRqeLvllQRFfRMufCChBvqnow_Ij10

American Alliance of Museums Online free resources for museum laborers including career management resources which include tips on career transitioning cover letter and resumes experience interviews mentoring careers networking and salary negotiation [Link]httpswwwaamusorgprogramsmanage-yourcareer career-management-resources

Social Distancing Festival ndash Virtual The Social Distancing Festival are celebrating artists and art laborers and their work that has been disrupted Open to all submissions include video and webcam rehearsals scenes or recordings from previous workshops design plans and performers [Link]httpswwwsocialdistancingfestivalcom

Communion and Co-Working Kiki amp Sit Visit at Reunion Chicago ldquoEvery Tuesday and Thursdays Reunion Chicago opens its doors to folks that want to get some work done ask us a question peep the space for a gathering or just dreamrdquo Quoted from Reunion Chicago website - Address 2557 W North Ave Chicago IL 60647 [Link]reuinonchicagocom e-fux Podcasts Podcasts featuring engaged artists thinkers and workers today Transcripts are available on request [Link]httpswwwe-fuxcompodcasts

Propeller Fund Gallery 400 and threewalls Administered by Gallery 400 and threewalls Propeller fun is funded through a grant from the Andy Warhol Foundation for the Visual Arts Propeller Fund provides multiple grants directly to visual artists and groups living and working in Cook County Illinois from amounts of $1000 ndash $6000 The Propeller Fund seeks to support projects that are independent informal self-organized and long-term or short-term [Link]httpsgallery400uiceduinteractpropeller-fund

openingnightchi Instagram account for Chicago local exhibition

artofsocialdistancing Instagram account for international online exhibitions

12 Sites of Memorial to Labor History Figures amp Movements

A guide by Jojo Galvan Mora

Union organizer and labor leader Samuel Gompers once wrote the following quote for the American Federationist Magazine ldquoTo be free the workers must have choice To have choice they must retain in their own hands the right to determine under what conditions they will workrdquo For generations the legend and history surrounding labor movement leaders has left us with a lifetime of heritage to interpret and campaigning to learn from As the 21st century labor movement addresses some of the most unique challenges ever presented in the workplace there is a case to be made for understanding our collective roots as laborers The arts and humanities have a special role in this interpretation as the record keepers and stewards of memory for our collective eforts This has left us with a rich trail of monuments museums and spaces that celebrate the history of our labor movement interpret the messages of our leaders past and present and inspire new directions This list celebrates the legacy arts and labor have created to help us remember who we are and what we can accomplish This mix of parks monuments and art installations isnrsquot comprehensive but is instead meant to serve as a launching pad for exploration into national regional and local labor history and activism reminding us that no matter where wersquore from or what we do we all collectively deserve the same rights

Samuel Gompers Monument Pullman National Monument Robert Aitken Pullman Historic District Chicago Illinois

Washington DC

Samuel Gompers has monuments and memorials dedicated to him scattered throughout the United States and all are rightfully earned One of the most recognizable and infuential fgures in American Labor history he was the founder of the American Federation of Labor His philosophies led to the foundation of collective bargaining procedures and his countless publications

China Wall of the Sierra Donner Summit Truckee California

and speeches have continued to shape labor eforts in the modern day Gompers is buried in Sleepy Hollow Cemetery near other key fgures on both sides of the labor movement during the Gilded Age

Laborrsquos Grove and Monument Harrisburg Pennsylvania

Haymarket Martyrs Memorial Albert Weinert

Fearless Girl Kristen Visbal

Forest Home Cemetery Forest Park Illinois

New York Stock Exchange New York The Haymarket Martyrs Monument was erected in 1893 commemorating executed anarchists for their suspected part in the Chicago Haymarket Bombing that left several dead and injured The monument was erected at Forest Home where the martyrs are buried because no cemetery in Chicago would allow them to be buried within The memorial depicts lady justice standing over a fallen worker with the bottom of the monument inscribed with the fnal words of August Spies one of the martyrs ldquoThe day will come when our silence will be more powerful than the voices you are throttling todayrdquo

Kristen Visbalrsquos Fearless Girl was unveiled in 2017 the Ceacutesar E Chaacutevez National Monument Keene California day before International Womenrsquos Day originally placed

at Bowling Green in front of the Charging Bull statue synonymous with Wall Street Commissioned by an index fund focused around investing in gender-diverse companies the 4 foot statue aimed to send a message centered around diversity in the workplace especially in the boardrooms where women continue to be underrepresented Becoming an overnight sensation the statue was ultimately moved to accommodate the crowds it drew and the complaints of the Charging Bull Statue artist Fearless Girl now faces the New York Stock Exchange

I Am A Man Plaza John Jackson and Cliff Garten Studio

Memphis Tennessee

The Ceacutesar E Chaacutevez National Monument is sprawled over 100 acres in Keene California on property that once operated as the headquarters of the United Farm Workers and was the home of Chaacutevez from the 1970s to his death The monument consists of a visitorrsquos center interpretive history displays and a memorial garden where the remains of Chavez and his wife are buried Certain buildings on the site continue to be operated as ofces for the UFW and the monument is being proposed for inclusion into a national park along with other sites important to the farm worker movement

Transcending David Barr Sergio de Guisti

Philip A Hart Plaza Detroit Michigan The Labor Monument

Philadelphiarsquos Tribute to the American Worker John Kindness

Elmwood Park Philadelphia Pennsylvania

Statue of John Henry Charles Cooper

John Henry Historical Park Talcott West Virginia

American tall-tale legend John Henry was a black steel driver immortalized in the legendary story where he defeated a steam-powered drill meant to replace him in a head-to-head competition Using his legendary strength and accuracy he defeated the drill only to immediately die after This larger than life rugged statue unveiled in 1972 weighs over three tons and perfectly immortalizes the fabled rail worker who has shaped labor lore and eforts for generations

Zuccotti Park Lower Manhattan New York City

Zuccotti Park in New York was the birthplace of the Occupy Wall Street movement in 2011 challenging economic inequalityand corporate infuence on government policy The foliage and public art installations become temporary homes to thousands of activists who ldquooccupiedrdquo the park with tents tables and signs bearing the movementrsquos motto ldquoWe are the 99rdquo referencing income disparity wealth inequality and the American debt crisis Occupation of the park lasted from September 17th to November 15th 2011 That same year TIME Magazine named ldquoThe Protesterrdquo as the Person of the Year directly mentioning the OWS movement among other international eforts

Labor Leader Trading Cards A guide by Amanda Lautermilch

Labor Leader Trading Cards are bite-size pieces of information about a labor leaders from US History While these cards are not a playable game like Magic the Gathering or other deck building games they are in our opinion collectible and great for trading and paying tribute to these fgures who paved the way for more humane fair and just labor practices in the United States

Interviews Jameel Bridgewater MCA Coat Check E-mail jameelbridgewatergmailcom Pronouns HeHim

Bio My name is Jameel Bridgewater Irsquom a Graphic Designer from Champaign IL currently living and working in Chicago I graduated with a bachelor of arts degree from Columbia College Chicago in 2016 and studied Graphic Design and photography My work spans between social commentary and the manipulation of photographs materials and design to tell stories

What are your own ambitions for the artisticmuseum world Does the MCA help you towards that goal

My ambitions for the artistic museum world is to bring light to the every day working artist like myself and celebrate black and brown people in an honest and raw way I want to see more people like me in seats of power and decision making I also want to touch base on social constructs and how we as a community can tackle them The MCA facilitates time to be in the galleries and opportunities to go to previews talks and shows It also may put me next to people that may have those positions in higher places and the ability to ask questions So sometimes the museum can be helpful towards that goal

Do you feel like the MCA is doing enough in terms of equity and inclusion at every level of the institution from the artists on display front facing staff and administration If not what do you believe needs to changewhat changes are being made already

I feel like the MCA is doing pretty well in terms of equity and inclusion as far as the artists on display and the events that take place around the institution for sure There has been a spike in diversity as far as the museum goers in the last few years in my observation Culture and demographic is changing so with that I think the museum has kept up with what would feed the community and their current viewer There is a bit of a break up in hierarchy in the professional museum world when it comes to job and level of work in the institutions infrastructure though You can see the level of responsibility one holds in the museum based of of most visual attributes I wish there was program for individuals that are artists that also work at the museum To see a system that would assist and facilitate showcasing for working

artists on a public level would be a dream I believe it could assist breaking out artists most of the museums front facing staf have BArsquos and are some of the cityrsquos top local talent Sometimes It can feel like a fne line between being a museum employee and being a full-fedged growing artist

What drew you to working at the MCA and working for coat check

I have been going to the MCA since I was a freshman at Columbia College Chicago and for every art student it would be the dream or perfect place to work That and the style of art that was being showcased was very interesting to me Working coat check is really just a step into the door for me I would like to come in to meet people and build a community around art I think what makes it worth it is the interactions and the observations I am able to have of the art viewer

What are your personal interests and passions and what he has been doing recently to help pass the time (maybe this is something artistic or physical)

Irsquom an art director that loves design and physical objects I construct garments through shape and function My passions are to tell stories through my work I have been working on a clothing collection and biking It has been a very self refecting and interesting time

Kristin Field volunteer programs coordinator Garfeld Park Conservatory Pronouns SheHer

What is your background How did you get into this work

It is a bit of a long path but Irsquoll do my best to keep it short I majored in international relations and communications in college I joined the Peace Corps after I graduated and spent 2 years in Cameroon as a community health volunteer When I got back to Chicago after I completed my Peace Corps service I worked at a refugee agency helping newly settled individuals fnd work in Chicago

During that time I realized I really love science amp gardening and was interested in urban agriculture I completed the University of Illinois Extension Master Gardener program and started volunteering at the Garfeld Park Conservatory as a beekeeper I changed career paths and started working at a nonproft that focused on environmental law and policy After about 2 years there I was really craving more hands on work when this position at the Conservatory opened up Irsquove been working at the Conservatory for a little over two years now

How does your institution show appreciation and solidarity for your volunteers

We try to show appreciation in a number of diferent ways First of all on a daily basis by verbally thanking volunteers for their work after every shift For me personally making sure to take the time to get to know volunteers and what is going on in their lives outside of the Conservatory is also really important We also host a number of events throughout the year to both show appreciation and foster community Our biggest appreciation event is the Volunteer Appreciation

Dinner we usually host every April where we serve volunteers dinner and have awards gifts and activities We also try to host two smaller get togethers throughout the year as well We really rely on volunteers at the Conservatory and staf truly do appreciate all the work that volunteers contribute to make the Conservatory the place it is We try our best to make sure volunteers know that they are part of the team at the Conservatory

How does supervising and working with volunteers impact and understanding your view of labor

Thatrsquos a really interesting question There are so many diferent types of labor there is the more obvious physical labor that many of our volunteers do like mulching a garden or helping to plant a tree but there is also social and emotional labor as well that often goes more unseen For example our family programming volunteers really do a lot to support all of the kids that come to our programming and make sure they feel seen and supported Like in our society not all types of labor are seen and valued the way that they should be I try to be conscious of this and make sure I am recognizing all the types of labor volunteers do not just the most obvious roles

What is the impact of volunteer engagement on your institutionrsquos overall identity andor culture

Our volunteers have a huge impact The Conservatory very truly wouldnrsquot be the same without them I think one of the most important ways volunteers shape the culture at the Conservatory is that they allow for more personal interaction with our visitors and more opportunities for informal learning Beekeeping and composting volunteers have weekly free public demonstrations demonstration garden volunteers can answer visitor questions about growing food in small spaces in Chicago tour guides can connect even a seasoned visitor to our collection in new ways special event volunteers make sure that everyone that comes to our family programming feels welcomed has fun and hopefully learns something new or tries a new experience

What are some of the challenges of working with volunteers and when they arise how do you overcome them

In a room full of people who know a lot about plants it can be a challenge to make sure volunteers feel acknowledged for what they bring to the table I always want to make sure volunteers know that their own knowledge and background is valued We try to take the time to really listen to our volunteersrsquo knowledge experiences and opinions Irsquove learned so much from volunteers and it is really important to foster an open environment where people feel comfortable sharing

Megan Elevado Member Tenement Museum Union UAW 2110 Co-Organizer NYC Museum Workers Happy Hour amp Museum Workers Manifesto

How did you get into museum work How did that lead to labor organizing

Following college I found myself in event planning and fundraising roles at cultural institutions and eventually ended up at the American Museum of Natural History From there I went to grad school and did a curatorial fellowship at the Cooper Hewitt National Design Museum Eventually I ended up where I am now teaching at Parsons The New School for Design and working in education at the Tenement Museum

My research considers Western museums as places that perpetuate colonial legacies in their administrative practices architectural structures and through their fundraising collecting and curatorial practices My interest in labor organizing grew out of my analysis and reimagining of what ldquothe museumrdquo can be If changes are made within museums theyrsquore often top-down decisions that donrsquot consult or consider the perspectives of those ldquoon the groundrdquo who see whatrsquos really going on in the museum day to day Visitor-facing and non-senior staf are often considered expendable and not valuable but their experiences and knowledge should be tapped to truly make museums responsive to their visitors

and the communities in which they exist My frustration with upper-level management dismissing or inadequately addressing requests for support and change from lower-level and visitor-facing workers is what spurred my interest in organizing

With the successful unionization eforts in early 2019 at the New Museum Tenement Museum and Guggenheim along with worker-inspired protests at the Whitney I saw a lot of worker solidarity within museums but not a lot of conversation across institutions This led to the birth of NYC Museum Workers Happy Hour that I initiated with Antonio Serna We wanted to get museum workers from across New York City in the room together to celebrate worker-initiated successes (from union drives to access programming) share strategies and connect Our goal is to develop worker solidarity across NYC cultural institutions and museums The frst Museum Workers Happy Hour was on May 1 2019 Since then we have held more get-togethers and organized a month-long series of Museum Workers Manifesto writing sessions as part of Art Workers Lab PS122 Gallery from January to February 2020

Tell us about the process of organizing a union of at the Tenement Museum

Itrsquos important to highlight that Tenement Museum workers raised their issues with administration multiple times Hitting a wall unionizing was a way to have our voices heard and needs acknowledged Irsquoll share some of the reasons why I think the Tenement Museum union drive was so successful (winning the vote 72-3)

1 Person to person conversations Successful organizingis relational This means face to face interactions (whenpossible) asking how others feel about the issues beingraised where they stand what their concerns are andfelding questions people may have2 Respect for position If someone isnrsquot sure or doesnrsquotsupport a union thatrsquos ok They have the right to theiropinion and to disagree Ask them more about their stanceit is an opportunity to learn diferent perspectives on thesituation and may even help develop a stronger campaignPerhaps something is missing or some people donrsquot feel wellrepresented Donrsquot try to forcefully persuade especially earlyon Revisit the conversation after some actions have beentaken some people may shift in their support If they havenrsquotbudged again thatrsquos ok Just because they arenrsquot with youdoesnrsquot meant they are against you3 Consistent lines of communication keeping everyone inthe loop addressing concerns as they arise and fosteringa culture of open community dialogue Although this mayseem obvious it takes a lot of efort to do this well We hadmultiple in-person group meetings (with individual catch-up

sessions for those who could not attend) where everyone was encouraged to ofer their thoughts and expertise without judgement The Organizing Committee made sure that all voices would be heard and suggestions considered

Obviously these are just three elements of a much larger process but I think they are essential to successful organizing

KUDOS LOVE and RESPECT to the Tenement Museum Union Organizing Committee for their incredible and tireless dedication that built solidarity and community among our bargaining unit members that remains strong to this day

How can museum workers advocate for their rights and interests even in the absence of a recognized union

Know your legal rights as a worker Itrsquos a starting point to gauge whether or not your workplace is adhering to labor laws If not start advocating to see change Legally the institution canrsquot argue

Power in numbers Regardless the size of your workplace worker solidarity makes a diference Identify colleagues who want to see change and who want to bring up issues to administration Itrsquos better to go as a group than individually Or if an individual does make a public statement (at a meeting or via email) be sure to back that person up For example if a colleague stands up during a meeting and makes a statement about a work issue follow up by saying ldquoI agree with what was just brought up by my colleaguerdquo And then another person can say the same thing followed by another Showing support and taking up timespace is impactful and communicates that a concern is shared by many instead of a few which makes it more difcult for administration to ignore

Bring in an infuential person Is there a board member prominent community member or famous patron who can serve as an ally to your cause If you know of a powerful infuential person whom administration would listen to ask them to speak on your behalf It depends on what their relationship is to the institution but they should be someone the administration would want to please or at least someone with whom admin would not want to fall out of favor This individual (or could be a groupcompany) may be able to make a public statement about your cause that can reach a bigger audience resulting in outside pressure This was done by the New Museum Union during their campaign They asked artists to openly support the union campaign This tactic can be used with or without a union

Any tips for museum workers looking to organize or interested in exploring unionization

Talk talk talk to others Remember organizing is relational Talk to those who have expressed they want to see change in your workplace Get to know people outside of your department Talk to people who have unionized Send an email or a DM to museum unions Donrsquot feel that any of your questions are stupid There are a lot of misperceptions about unions and organizing Itrsquos better to get clarifcation than assume

Understand that there is a lot of work involved Passion and commitment are of course important but depending on your job(s) home and life circumstances you may not be able to take on certain roles There are many ways to provide support Do what fts your personality and lifestyle When speaking to those who have unionized or organized in a capacity you would like to see happen in your workplace donrsquot just ask how they did it Ask about time commitment and other contextual questions that give you an overall picture of the process

How have your organizing priorities shifted given the COVID-19 crisis How do you think this might impact the future of both work and collective bargaining within museums

After doing what I can to support immediate needs of friends and colleagues I am taking this moment to step back I think now is a time to reflect on what has been accomplished so far as well as observe and take inventory of what is currently happening in the museum and cultural worker community The ills of the system are continually being exposed Because everything is happening so quickly and unpredictably I think trying to take actions right now in the moment wonrsquot be productive or helpful because we are in the middle of a labor crisis in our community (and across so many other sectors) There is definitely more to come This time can be used productively to build momentum so that wersquore ready to take steps once our worlds open up again

I hope this will be a critical moment ndash we have more time to talk make connections build community and consider what changes are really needed to create systems that support workers My hope is that we will realize that we cannot fix patch or mend the current system nor return to what was the status quo

Opinion

How the Other Half Lives Cultural Workers in the Economy

of Inequality By Hayden Hunt

Throughout the United States museums employ hundreds of thousands of workers that broadly work to preserve our societyrsquos art and culture Cultural workers can understand the draw of working in or around museums these are institutions they believe in that inspired them and that they hope will inspire others

Museums are striving to become equitable institutions on a variety of fronts In terms of employment many follow federal guidelines that prohibit job discrimination on the basis of race gender or nationality as well as (some) state guidelines that protect workers on the basis of sexuality or gender identity In recent years there have also been initiatives to eliminate unpaid internships that perpetuate class inequality Other museums chose to ofer free or reduced admission costs in order to greatly expand access to all members of the public

Is it enough

In many ways museums beneft social and economic inequality At most museums they lose money for every visitor that walks in the doormdashsince it costs more to keep the lights on than they earn by charging visitors for an entry ticket Itrsquos why so many museums rely on hefty fundraising initiatives to keep themselves afoat As someone who has worked at both a commercial art gallery and in the development department of a major museum there are few diferences between how each organization prioritizes the needs of the wealthy in order to ensure an institutionrsquos survival

Wealth-based favoritism often occurs behind closed doors or after normal business hours but it results in major discrepancies between how museums treat donors and how they treat their average visitor Museums may be striving to become more equitable in the eyes of the public but there is a pervasive invisible favoritism that goes on behind the scenes that upholds an unbalanced economic status quo The average visitor is not invited to exclusive events (often with high ticket prices) nor are they invited to travel with curators on specially planned

fundraising trips Museums need funding but is this the most ethical way to raise it

Museums strive to function like democratic institutions They are open to the public

and they strive to be accessible to all Like any democracy

however they remain susceptible to special interests

bribery and nepotism

One of the great tragedies of museum work is that the people who work in museums rarely make salaries that would allow them to collect the type of art that museum trustees do and rarely do they earn seats on the executive boards that govern these institutions How often does a museum wing get named after a loyal stafer rather than a deep-pocketed donor

If museums are to become the type of institutions we idealize it will come at a great cost They should not be institutions that just serve the hyper-elite who visit the institutions after all of the regular visitors have closed Nor should wealthy trustees dictate the terms of employment for staf members who often have little say over an institutionrsquos destiny Cultural workers need to be valued for the work that they do and ensuring this happens may require alternate governing structures that remove some individuals from seats of power that were earned solely on the basis of an individualrsquos fnancial contributions

In a changing world that is becoming more inequitable day by day it is time for museumsmdashthose institutions that we love and cherishmdashto value cultural workers more reciprocally than they have before

With Great Power Comes Total Disregard for Workers My Life as an

Emerging Museum Professional by Megan Moran

Does your employer care about you How do you know How does it feel to be cared for by an organization

As long as our basic needs for survival (income and healthcare) remain tied inextricably to our employment these questions concern all of us working in the museum feld Many of us are all too familiar with the toxic aspects of working for largely nonproft organizations the scarcity mentality the understanding we should be grateful to be paid at all for our work and the idea that we are entirely replaceable by any number of fellow idealists with humanities degrees

It didnrsquot escape my notice in the email that the salary ofer was $1000 less than the low end of the salary range I gave when he asked for it before we even set up the frst interview When I told him my range was $45000 ndash $55000 and he said absolutely nothing in response to it I assumed that meant they could make an ofer in that range You know like any reasonable human being But I wasnrsquot worried in fact I saw it as a sign they were bracing for a counterofer and I believed I was prepared to make it Every professional mentor Irsquove ever had and several peers in the nonproft feld have advised me to always ask Itrsquos expected and itrsquos completely standard

Being a young professional in the museum feld comes with its own terrifying blend of imposter syndrome and fear of never fnding stable enough employment to pay back your student loans

I fully expected to manage these fears and insecurities upon graduating with my Masterrsquos in Museum and Exhibition Studies What I was less prepared for was the staggering amount of dispassionate unprofessionalism I would encounter on the job search

The precariousness of navigating power dynamics and imposter syndrome in this feld never hit harder for me than my frst attempt at negotiating a salary for what would have been my frst full-time job in a museum

Earlier this year I was ofered an Education Manager position at an institution in the Chicago area that would have been perfectly timed with the end of my contract-based part-time job The ofer felt like I had fnally achieved the mythical ldquobig breakrdquo that upward move in my career Irsquove been chasing for years I received the job ofer via email from my would-be supervisor He said I needed to set a start date before HR would send me the ofcial ofer So I accepted the job (albeit informally) expressing my excitement about joining the team but I was careful to mention that I looked forward to reviewing the ofcial ofer letter

professionalism

While I waited for the formal ofer letter I did my research I based my counterofer on three key sources the organizationrsquos most recent publicly available Form 990 my own experience and credentials and data available on websites like GlassDoor and PayScale

Based on my research the median salary for this type of position with my qualifcations (6 years experience Masterrsquos degree) at comparable institutions in the Chicago area is $48000 I decided to ask for $47000 - $49000 in my counterofer following advice Irsquod heard to counterofer high in anticipation of getting another ofer lower than my proposed range I felt confdent that my ask was entirely reasonable (especially given the CEO of the organization made around $180000 last year) Yes surely this was all perfectly reasonable

Yet while I had convinced myself I was being reasonable make no mistake I was terrifed As we all know talking openly about money is generally taboo and especially so in nonprofts I did not think the salary ofer was insignifcant on the contrary it was a great deal more than any of my previous annual earnings and I would have full healthcare coverage But I decided this risk was worth taking not only for myself but in the hope that if I did get a higher ofer I could report the data back to websites where it might be useful in other peoplersquos negotiations I fought hard through the discomfort to reassure myself this was reasonable professional conduct

At this point I thought I was ldquodoing the dancerdquo so to speak Best case scenario they make an ofer in the range

I propose Worst case scenario they tell me kindly but frmly they canrsquot go any higher The most likely scenario I thought was they would meet me in the middle As it turns out what actually happened was far worse than what I imagined the worst case scenario could possibly be

The ofer letter came via email from HR Based on what I knew theoretically about this process it was standard for HR to act as an intermediary in a salary negotiation or otherwise connect the new employee with who they needed to speak with directly So I went ahead and sent my counterofer to HR in reply to the ofer letter

Unbeknownst to me my counterofer was forwarded by HR to my would-be supervisor I only realized this action had been taken when it was him who responded He wrote back with a single sentence ldquoI do believe this is a growth opportunity for you and I hope you will accept the salary at the level wersquove setrdquo

Though it may not have been a conscious intention on his part my eyebrows rose at the tone of his reply practically oozing with condescension I was equally put of by what was left unsaid this was all he deemed necessary to write back He didnrsquot feel the need to elaborate on how this job would be a ldquogrowth opportunityrdquo for me No attempt was made to explain the non-fnancial benefts of the job No acknowledgement was ofered of the case I made for my value to the organization The implicit meaning was clear ldquoKnow your place You donrsquot have any power here Be grateful and take what Irsquove deemed you are worthrdquo

In spite of (or maybe because of) these misgivings I knew almost right away that I was not going to back down He said he ldquohopedrdquo I would accept I thought surely any reasonable professional will engage me in this negotiation especially now that I have the chance to address him directly and remind him of the salary range I gave weeks ago Still I thought we were ldquodoing the dancerdquo not yet realizing that this man was not even pretending to ldquodo the dancerdquo with me

In my email back to him I re-stated my case for why my requested salary range was commensurate with my experience and industry standards all the while expressing my genuine enthusiasm for the job (though I was defnitely starting to have trepidations) I concluded the email by sharing my ldquohoperdquo that we would fnd the best match for both myself and the organization

Within an hour my would-be supervisor emailed back the following two sentences ldquoWell it appears we are at an impasse Irsquom rescinding the ofer and wish you well on your job searchrdquo

This time the implicit meaning of these words was painfully clear ldquoYou are disposable Watch us put you in your place you entitled millennial womanrdquo It was a cruel punitive action fully intended to humiliate and demoralize me

I have to admit it was hard not to blame myself for botching what was supposed to be my dream opportunity to fnally have stability after years of cobbling together part-time and contract work Very very hard But herersquos the thing that kept me from spiraling into the abyss of self-doubt knowing my worth and standing up for it forced this organization to show their true colors

A story about an abusive salary negotiation gone wrong (or right seeing as I ultimately dodged what I imagine was a massive bullet) in the midst of a global pandemic destabilizing the museum feld as we know itis actually a lot more relevant than you might initially think

What happened to me weeks before this public health crisis and what is unfolding in the museum feld right now are symptomatic of deeply entrenched feld-wide issues that boil down to whether or not institutionsmdashpardon me butmdashgive a shit about their employees as humans worth being invested in

We love what we do in museums but why does it so often feel like museums donrsquot love us back

Just as my nightmare salary negotiation incident is symptomatic of that organizationrsquos toxic workplace culture so too are many of the layofs and furloughs speaking volumes about how much museums truly value and care for their workers What do museums even consider their broader institutional mission to be when some have so readily axed their already precariously employed museum educators

Taking a compassionate view of these unprecedented circumstances we know that not all senior staf make these decisions without a heavy heart my question is how soon are they allowed to let their team know about potential layofs Irsquom less concerned with throwing individual bosses under the bus and more so with how much transparency is practiced in an organizationrsquos culture of care I think we can all agree that itrsquos two entirely diferent things to be open about hard truths to

give your staf as much notice as possible and keeping them in the dark for as long as you legally can

We already knew that a gross power imbalance existed between museum leadership and workers It couldnrsquot be clearer that now more than ever we need to build power and solidarity among workers We need unions in museums We are witnesses and victims of labor injustice in our feld and we have the receipts to prove it Think about it who better to collect archive interpret and exhibit the stories of how institutions are and are not caring for their workers during this crisis

Through collecting and sharing our stories we must build solidarity and power now if we hope to have a future in museum work

Museum workers have already started digital story collecting initiatives like this take a look at Art + Museum Transparency on Twitter and the brilliant DearMuseums project started by the Museum Education Roundtable Letrsquos do more Letrsquos extend this archival practice and collaborate with workers across multiple felds to document their experiences building much needed solidarity among workers of all diferent professions

Museums will still be here after the worst of the pandemic subsides It is imperative that we not let them forget the human cost of their short-sighted actions to save a buck (looking at you MoMA) We will not forget the CEOs and upper leadership who did not take pay cuts and opted instead to layof and furlough their public-facing staf We will not forget the institutions that used this crisis as an excuse to bust unions by laying of key union organizers We will not forget that our livelihoods were not eroded by the coronavirus but by the lack of infrastructure in place to ensure workers are protected and cared for when a crisis of this magnitude strikes

Why museum workers donrsquot deserve a living wage

By Anonymous Know-it-all

Recently museum workers have been kicking up a fuss about their pay going so far as to create a public spreadsheet listing out their salaries[i] in an afront to the loving care and efort that the wealthy elite have put into constructing an artifcial stigma around the subject in order to obscure from the working class their subjugation ldquoSalary transparencyrdquo spits in the face of all employees who have the decency to nervously skirt around the topic of money so as not to commit the mortifying faux pas of revealing that their lives and labor are valued diferently from the lives of their colleagues and coworkers This is just one tactic that museum workers have used to argue that they should be paid more but amidst all this uproar they appear not to have considered a crucial question

do they deserve a living wage

Donrsquot get me wrong people should obviously be paid for their work (except for artists because honestly they need the exposure more) but salaries are proportional to the necessity of the work and some jobs are simply more important than others For instance where would society be without elite corporate lawyers who do everything in their power to ensure that the rich and powerful arenrsquot beholden to the same laws as everyone else And it goes without saying that hardworking CEOs who inherited their companies from their equally hardworking parents and tirelessly evade taxes and exploit workers to cope with economic downturns that are entirely 100 out of their control are more essential to our great nation than nurses whose only responsibility is to keep people alive Sorry museum workers the fact of the matter is that yoursquore just not that important

I for one could do without museums and Irsquom sure most people would agree[ii] For starters art is old hat I mean who wants to look at a painting when they could stare at

a blank wall instead Frankly the world could use less art giving meaning to life and inspiring interests outside of efcient monotonous commitment to the corporate machine Moreover when I visit a new place I love having nothing to do besides sitting quietly in my hotel room which is why itrsquos patently ridiculous that museums are so intrinsically tied to the identity of every major city in the world

What can history and science museums contribute to my life that I canrsquot get from the outdated textbooks my high school teachers had to use because of widespread budget cuts And while wersquore on the topic of education what do kids even get out of museum feld trips When I was in school

I much preferred learning about art history and science

in the abstract with no concrete frame of reference to personally encountering

evidence of times and cultures vastly different from my own

The way I see it all museums are teaching our youth is to be interested in unproftable career paths (museum work included)[iii]

My point is we donrsquot really need museums so museum workers should be thankful that they have jobs at all After all how much staf can a museum need anyway Four maybe fve people Actually they could probably make do with just one very talented curator and a couple of unpaid interns[iv] And these are cushy gigs wersquore talking about ndash letrsquos face it hanging paintings is hardly rocket science [v] And thatrsquos really all there is to running a museum right Admittedly I donrsquot know that much about what goes on behind the scenes in a museum But I do know with absolute certainty that museum workers donrsquot deserve to be paid a living wage

In the early weeks of the COVID-19 crisis hundreds of museum workers across the US were furloughed and laid of as cultural institutions scrambled to cope with the sudden loss of revenue from admissions sales event rentals and fundraisers Many who did not lose their jobs saw their salaries cut At the time of writing there remains a possibility of further losses of employment due to the pandemic Museumsrsquo responses to this crisis have showcased the vulnerability of museum professionals and brought attention to cultural workersrsquo dire need for support and solidarity We stand with all those whose livelihoods have been threatened by the Coronavirus

[i] The Google spreadsheet currently titled ldquoArts + All Museum Salary Transparency 2019rdquo actually aims to draw attention to the economic inequalities that plague cultural institutions particularly in the art world As this is being written it has amassance to all major league sporting events combined

[ii] Millions of people visit museums each year so itrsquos probably safe to say that people want them around See ldquoMuseum Factsrdquo American Alliance of Museums (aam-usorg)

[iii] A study published in 2014 found that museum feld trips signifcantly improved critical thinking historical empathy and tolerance in students as well as their interest in museums (Greene Kisida and Bowen ldquoThe Educational Value of Field Tripsrdquo) If you need any more proof that museums are awesome check out Museums Change Lives by the Museums Association to learn about the social impact museums can have on their communities

[iv] Museums jobs have become highly competitive in recent years there is a surplus of fedgling museum professionals and increasingly few permanent positions available Many museums particularly smaller institutions have cut costs by having each of their employees flling multiple roles and hiring contractors and un-or-underpaid interns to take care of whateverrsquos left Kind of makes you wonder why anybody would get a museum studies degree huh

[v] Museum jobs are often highly specialized and require extensive education (often a masterrsquos degree or higher) Some roles like conservator require extremely specifc skills and extensive knowledge in multiple felds After all nobody wants to be the guy who screws up a Picasso

Transitioning Remotely

By Sidney Murphy

2020 has been a time of transition throughout all of our lives especially for cultural workers Ryan Hardesty the Curator of Exhibitions and Collections at the Jordan Schnitzer Museum of Art at WSU recently had a conversation with me about how this moment in history has impacted his work as curator He has stated in a virtual conversation that his institution like many others has had to make ldquoinstitutional pivots requiring creativity and quick leadershiprdquo Some of these creative changes have included online teaching of the museums two university courses moving the MFA exhibitions which are typically held in the museum space to alternative spaces and even using online platforms like zoom for gallery talks and receptions Hardesty also comments on the future of exhibition planning stating that a ldquopre-virus exhibition plan may now feel out-of-step given the societal changes underwayrdquo which is something that has been on every cultural workers mind how do we move forward

While an institution like a museum or a university gallery may be the traditional space for cultural preservation and production What about other cultural institutions and workers or even just the individual Cultural workers and people are being asked to stay at home away from the spaces and people that would usually act as a base for their work They too have to fnd ways to shift their norm and move past traditional ways of doing cultural work and reach out remotely

A cultural worker like myself has been confned to my residence for over two weeks and my passion for culture has only grown stronger

I too have had to fnd creative ways to satisfy my desire to feel normalcy in my day to day by supplementing in this work remotely I have been utilizing online platforms like Instagram to explore what others have been doing to continue their work remotely and how individuals have been using this time to reach out to one another and create bonds through this shared experience Most of my

days have been spent reading painting or online but the major shifts for me have happened outside of that isolation

For me it all began during a dinner with my family we had done it so many times before but this time it felt diferent My three young nephews sat with us and we all began telling stories about each other to them Stories they had never heard before The natural habit of cultural transmission did not stop when we were confned at home it almost grew as a way to help us cope with such a large world event We talked about the past and good memories as well as our hopes for the future and how we are living in the present All the ideas that we discuss as cultural workers emerged in this conversation coping with trauma community building the importance of memories culture preservation and also cultural transmission While we all have made a shift to viral transmission the importance of cultural transmission is still very benefcial during these times

As we are challenged at the moment to take a step away from the normal activities of our lives we are faced with the opportunity to reach out to one another and not lose sight of the values we hold surrounding culture and sharing it

I found that as the days went on more people would reach out and vice versa to fnd or give support to have these conversations and to talk about what we want the future to look like Many people have shared articles movie suggestions book reviews language classes and artwork because culture brings us all joy even in unsure times

Ryan Hardesty fnished his commentary on how culture work has shifted in this chaotic time by saying ldquothe forecast for a future lsquonormalrsquo may look unlike anything

beforerdquo which I completely agree with Cultural workers have come up with creative ways to continue their work and individuals like myself may not know but they have been participating in this work as well I have hope for the future especially when it comes to culture work because everything is shifting in new exciting ways

While the Jordan Schnitzer Museum of Art is an example of how a museum on a university campus is shifting its creative focus right now there are many other institutions implementing programs with very similar creative shifts in mind Many large institutions are under fnancial pressure due to COVID-19 and have had to lay of many of their workers The Whitney Museum in New York City recently laid of 76 members of their staf due to the museum closing but has also made major shifts towards online teaching initiatives to keep most freelancers employed On April 2nd 2020 the Whitney stated ldquoThe program will serve our community during the COVID-19 crisis and will enable you our dedicated freelance team to keep working even though the museum is closedrdquo This statement sparked a lot of conversation throughout cultural institutions and beyond while many fear the uncertainty for cultural institutions worldwide the Whitney museum is setting an amazing example for other museums and galleries to make these changes that will allow this work to continue through uncertain times A fun

example for how cultural institutions are making shifts to virtual content came from the Shedd Aquarium in Chicago On March 16 2020 the Shedd Aquarium posted a video of their penguins being able to explore the closed building which sparked international interest in the museum The Shedd has also provided educational tools and entertainment to their followers which has not only encouraged viewership but also encouraged people to get more involved while in their own spaces

Right now is a time of uncertainty but also a time of hope and change

While much of the work done by cultural workers has looked much diferent from what it has in the past these new ideas for virtual content and education have allowed for more engagement by the broader public It has also given individuals the agency to do their own cultural work in whatever way suits their personal situations While I have enjoyed sharing stories with my family and sharing with friends during this time I do not see a boundary for the individual to be creative and get involved in cultural work of their own at this time

MuseumLayoffs A Compilation by Onyx Montes On the week of April 3 2020 the Museum of Modern Art in New York City terminated all museum educator contracts announcing via a mass staf e-mail that ldquoit will be months if not years before we anticipate returning to budget and operations levels to require educator servicesrdquo Layofs and furloughs have afected museum workers across the nation due to the lack of museumrsquos fnancial infrastructure to support part-time and contract workers in an economic crisis caused by the COVID-19 pandemic Sentiments of anxiety fear and anguish are imminent for those who are dependent on the museumrsquos doors to remain open a reality that has been amplifed by this pandemic What follows is a compilation of screenshots I took after following the MuseumLayofs hashtag It was a way for me to cope and come to terms with the realization that this is a new normal for many who share roles similar to mine as museum educators contract workers and part-time staf These are just a few institutions and the amount of workers that have been laid of or furloughed in the month of March and April 2020

Name of Institution

Akron Museum

Dia Art Foundation

Guggenheim Museum

Hammer Museum

International Center of Photography

MOCA (LA)

Museum of Contemporary Art Detroit (MOCAD)

Mission

To enrich lives through modern and contemporary art

Dia Art Foundation is committed to advancing realizing and preserving the vision of artists Dia fulflls its mission by commissioning single artist projects organizing exhibitions realizing site-specifc installations and collecting in-depth the work of a focused group of artists of the 1960s and 1970s

Committed to innovation the Solomon R Guggenheim Foundation collects preserves and interprets modern and contemporary art and explores ideas across cultures through dynamic curatorial and educational initiatives and collaborations With its constellation of architecturally and culturally distinct museums exhibitions publications and digital platforms the foundation engages both local and global audiences

The Hammer Museum at UCLA believes in the promise of art and ideas to illuminate our lives and build a more just world

to present photographyrsquos vital and central place in contemporary culture and to lead in interpretation of issues central to its development

We are committed to the collection presentation and interpretation of art created after 1940 in all media and to preserving that work for future generations We provide leadership in the feld by identifying and presenting the most signifcant and challenging art of our time actively supporting the creation of new work and producing original scholarship

the encouragement of an ever-deeper understanding and enjoyment of modern and contemporary art by the diverse local national and international audiences that it serves

MOCAD presents art that contextualizes interprets educates and expands culture pushing us to the edges of contemporary experience

Annual Layoffs Operating Budget Before COVID-19

$4200000

$19000000

$74000000

$18000000

$17000000

$20000000

$210000000

$1800000 12

Furloughs

Art + Museum Transparency AMTransparency

22 San Franciscorsquos exploratorium museumlayos 100 student workers laid o 150 on-call staers eectively laid o 250 other staers getting pay cuts or furloughs Pay cuts for senior leadership

At Exploratorium layoffs furloughs to affect 85 of staff mdash datebooksfchroniclecom

606 PM middot Mar 31 2020

30 Read short overview for mfaboston where 340 sta members (around half total sta) will be furloughed timeline thru June 30 for now may change Flghd sta will get unemployment to ldquomaintain at or near current incomerdquo + director taking 30 paycut

Museum of Fine Arts will remain closed furlough staffers through June 30 mdash bostonglobecom

437 PM middot Apr 3 2020

Acknowledgement

26 Museumlayo s in Illinois The Childrenrsquos Museum in Oak Lawn cmoaklawn is laying o 13 of its 14 sta members A donor is helping to pay the one remaining sta er who is part-time so that they can continue to run the museumrsquos social media

Forced to close and down to 1 employee Oak Lawn Childrenrsquos Museum adapts mdash chicagotribunecom

643 AM middot Apr 2 2020

32 And now reporting on the museumlayos at New Yorkrsquos newmuseum 7 laid o amp 41 furloughed out of the sta of 150 Furloughedsrsquo health insurance continued thorough June 30 Senior sta taking pay cuts of 10-20 director pay cut of 30

The New Museum and Whitney Museum Cut Dozens of Employees as Lockdowns Continue With No End in Sight mdash newsartnetcom

35 In Tennessee the MemphisBrooks Art Museum has announced furloughs for 29 ft and pt stadagger Not furloughed are administrators and security Museum remains ldquocommitted as everrdquo to $110m building project

Brooks Museum temporarily furloughs 29 staff positions mdash dailymemphiancom

I want to take this time to recognize the labor that our colleagues volunteers interns work studies part timers preparators educators contractors and full time staf have contributed and put in so that our doors can remain open our programs running those who ensure that our social media platforms stay active our building be welcoming and clean and more This is a small yet signifcant step in our equity eforts to raise awareness that our roles as cultural arts workers are vital to our arts community I want to acknowledge the fact that our roles and labor do not have to be recognized only in structured formats such as annual performance reviews or staf meetings Labor acknowledgements can remind us that patience is not required to acknowledge the labor that builds these museums and cultural organizations This is something we can all begin to practice with our colleagues and peers I want to acknowledge the role that each and every one of us play no matter what the length of our positions titles or experience may be It is my hope that this also serves as a reminder that we are part of a feld that is populated by people frst and objects second mdash Onyx Montes

29 The whitneymuseum announces museumlayos 76 employees laid o mostly visitor services sta Health insurance continued through June 30 Unspecified pay cuts for senior sta

Expecting $7 M Shortfall New Yorkrsquos Whitney Museum Lays Off 76 Employees mdash artnewscom

murawski27murawski27

22 ldquoIrsquom not sure what a museum is without education especially a closed museum for which I would argue education is even more crucialrdquo

MuseumEd IAmMuseumEd

MoMA Terminates All Museum Educator Contracts mdash hyper-allergiccom

Tana HargestTanaHargest

I should have added that MoMa director Glenn Lowrys annual compensation is $22m and MoMa is sitting on a $1b endowment Oh and museum education is about the only department that could be working online with the public right now

Dia Art Foundation furloughed FT staf retain their benefts The Hammer Museum laid of 150 PT workers from its Visitor Experience and Gallery Operations Department The International Center of Photography laid of 55 PT workers from its Visitor Experience and Education departments MOCA (LA) laid of 97 pt workers from its Education (Teen program included) Gallery Attendants Exhibition tech Store Associates Department MOMA laid of 85 PT Freelance Educators MOCAD has laid of 12 FT and 10 PT employees from its Visitor Services Cafe Education amp Public Programs Curatorial Operations Events Membership departments

Leisure

Take a Deep Breath and Relax A Guide by Laura Sato

As museum workers we work hard everyday to be in the service of multiple publics We had previously planned to have moments of relaxation throughout the Museum May Day This is a list of suggestions you can do to relax during this time of uncertainty regarding work fair compensation and health Ponder this list and adapt it to suit your needs

1 Do some light exercise go for a walk stretch yoga jog exercise dance online ftness classes via social media

2 Call friends family your support group

3 Breathing exercises

4 Listen to your favorite music

5 Have your own dance party

6 Coloring pages (see Activity header)

7 Start a new hobby knitting crocheting crafts vision boards

8 Read a book you have been pushing of My suggestions include Emma by Jane Austen Crazy Rich Asians by Kevin Kwan Life of Pi by Yann Martel Warm Bodies by Isaac Marion Good Omens by Neil Gaiman and Terry Prachett To fnd and borrow library books go to openlibrary org

9 Have a nice cup of tea

10 Light a candle

11 Aromatherapy

12 Watch a tv episode or movie

13 Write in a journal

14 Try a new recipe

15 Take a bath or shower

Diaphragmatic Breath Breathing Deep for Inner Calm

By Anika Bierig

In the course of everyday life at work home or school we can become overwhelmed by stressors in our internal and external environments Those who work in museums and cultural spaces often have to interact with the public in many diferent ways and spend a lot of time serving and accommodating others Sometimes we need a way to reset in the course of a busy day or a way to fnd relaxation more consistently An important tool at our disposal at all times is our breath Many people use the chest and surrounding muscles to breathe commonly known as shallow breathing Chest breathing can have the efect of increasing stress and anxiety By training ourselves to breathe from our bellies instead of our chests we can achieve feelings of physical and mental relaxation One of the biggest benefts of this diaphragmatic breathing is reduction of stress which can do dramatic things to improve our overall health

The diaphragm is a dome-shaped muscle located at the bottom of the lungs Our stomach muscles help move the diaphragm and give us the power to empty our lungs of air By engaging in diaphragmatic breathing we can slow our breathing rate down which decreases bodily exertion and lowers our heart rate If we are taking deeper breaths and therefore taking in more oxygen we donrsquot have to take as many breaths to get all the air we need

Use the following steps either a few minutes per day or in moments of stress You may not be in control of many things but you are in control of your breath

1 Sit stand or lie down comfortably

2 Relax your shoulders

3 Place one hand on your chest and the other on your stomach near your belly button

4 Breathe in through your nose bringing your breath deep down into your abdomen You should feel your stomach expand out towards your hand (chest stays relatively still)

5 Breathe out slowly through the nose feeling the stomach defate

6 Take a few more deep breaths with focus on the rise and fall of your stomach Continue to breathe fully and deeply allowing and trusting the body as the breath slows and becomes more relaxed

practice makes perfect (or better)

Museum May Day Libations by Quinton Sledge

As echoed throughout this publication I wish to acknowledge the workers and laborers that keep our society functioning specifcally those working in the service industry My ten plus years of employment in restaurants and bars shaped my work ethic in an extraordinary way From back of house to front of house Irsquove done it all and seen it all but my experience isnrsquot unique There are millions of service industry folks doing under-appreciated workmdashwork that guests will never see Itrsquos an honor to be a part of such a hard-working community

I dedicate this menu to everyone Irsquove worked with over the years that have done the thankless work Literally back-breaking work Sometimes degrading work Oftentimes soul-sucking work This is also for all the museum workers that make our cultural institutions function From the administrators to the interns to the volunteers the custodial staf to the museum restaurant and cafe workers we lift our glasses to you

This menu was designed with the intention to honor workers and to educate imbibers on labor history and power structures If this menu inspires you to break out your shakers and mixing glasses and try these drinks out for yourself please do so responsibly

Arts Administratorrsquos Tears (Created by the Open Engagement team)

In the summer of 2018 the Open Engagement conference team was hosted by the ACRE artist residency

While there they hosted a Happy Hour venting session in honor of the often invisible labor it takes to maintain creative practices and spaces All artists are arts administrators

They created a craft tequila cocktail called The Administrators Tears invited people to fll out emotional labor invoices and made space for a BYOEmail for performative readings of frustrating nasty abusive passive aggressive ldquoprofessionalrdquo emails and grooved to a playlist titled ALL LABOR IS EMOTIONAL mixtape of femme-fronted jams dripping with frustration rage and dreaminess

Letrsquos raise a glass pour one out and give a little RESPECT to arts administrators everywhere

THE RECIPE In a cocktail shaker combine 2 oz Tequila 12 oz Campari 12 oz fresh lime juice 1 oz fresh grapefruit juice

Shake and strain over ice in a lowball glass

Top with soda water grapefruit soda or sparkling wine

Garish with a lime wedge Pairs well with unpacking emotional labor

The Onyx Tonic

This drink is inspired by Onyx Montes (onyxmontes) She is a MUSE grad student arts educator storyteller fashion icon and contributor to the Museum May Day Newspaper She is also a staunch advocate for salary transparency The taboo behind discussing salaries creates division and tension between coworkers Onyx took a brave step and shared her salary as a marketing and communications manager on social media in an efort to try to end the stigma behind salary discussion and to play a part in ending the gender pay gap

Much like Onyx this drink is strong and invigoratingmdash giving the workplace a dose of the medicine it needs

THE RECIPE In a mixing glass combine 2 oz tequila reposado 12 oz Fernet Branca 12 oz agave simple syrup 2 dashes Bittermanrsquos Xocolatl Mole bitters 1 dash Bitter Truth grapefruit bitters

Stir with style Strain into a chilled coupe glass Garish with grapefruit swath

Pairs well with dismantling oppressive power structures

agave simple syrup recipe combine equal parts agave nectar and water Stir until combined

The Haymarket Handshake

THE RECIPE 12oz can of Speakerswagon Pilsner from Haymarket Brewery 1 shot of Jeppsonrsquos Maloumlrt

This drink is equal parts history and folklore much like the Windy City itself A variation of the ldquoChicago Handshakerdquo we paired Haymarket Breweryrsquos fagship Pilsner ldquoSpeakerswagonrdquo with the legendary Chicago-made Jeppsonrsquos Maloumlrt A spirit made for the hardest of workers and most rebellious of anarchists

Haymarket Brewery borrows its name from the 1886 bombing incident that took place during a labor rally in support of the eight hour workday A peaceful demonstration quickly unfurled into a chaos at the square where ultimately the lives of seven police ofcers and four civilians were lost Although charges were pressed and a trial was conducted to this day the perpetrator has never been ofcially identifed

Pay homage to the working class roots of Chicago and remember this event which sparked the movement to designate May 1st as International Workers Day with this timeless and authentic drink

The Unpaid Intern

Because many institutions still engage in the practice of not paying their interns for the work they do we thought we would create a cocktail with the same level of craft but excludes one key ingredient the alcohol No money for work = no booze

THE RECIPE 10 mint leaves 1 oz lime juice 1 oz simple syrup Ice Topo Chico (or other soda water)

Build this drink in a Collins glass Muddle lime juice simple syrup and mint leaves in glass

Add ice Top with Topo Chico Garnish with lime wedge Stir and enjoy

The mint leaves remind us of the cash the unpaid interns never see

Add 2 oz of white rum to make this drink feel valued Pairs well with PAYING INTERNS

simple syrup recipe combine equal parts sugar and hot water Stir to combine Let cool before use Pay your interns

Activities

Labor Crossword by Anika Bierig

We all beneft from the history of labor activism Take some of your daily ldquowhat you willrdquo time to fgure out these labor history clues that have shaped our country and our collective rights

Across

2 Human activity that provides the goods or services in an economy

5 Prominent labor organizer and revolutionary activist of the 1920s who was described by the Chicago Police Department as ldquoMore dangerous than a thousand riotersrdquo

12 Nationwide railroad strike that began as a wildcat strike in response to a reduction in wages

13 Unity or agreement of feeling or action especially among individuals with a common interest

14 Lawrence Massachusetts strike of 1812 led by immigrant women fought for bread and this too

16 Martin Luther King Jr was assassinated in Memphis TN while supporting these striking workers

19 Published declaration of the intentions motives or views of an individual group political party or government

20 Formal complaint that is raised by an employee towards an employer within the workplace

21 Organization that advocates for workers rights and benefts through collective bargaining

22 Part 1 with and those who makeup the body of a union as distinguished from the leaders

23 A strikebreaker who willingly crosses the picket line

25 Mother _____ who was a teacher organizer and co-founder of the IWW

1 Money that is paid or received for work or services

3 Work stoppage by a body of workers to enforce compliance with demands made on an employer

4 Secretary-Treasurer of the AFL-CIO who said ldquoThe only efective answer to organized greed is organized laborrdquo

6 Helped organize the Delano grape strike and co-founder of the United Farm Workers

8 Founding member of the Industrial Workers of the World and fve time candidate of the Socialist Party of America

9 Class of wage-earners in an economic society

10 More than one million people participated in a May Day protest in 2006 known as the Day without

11 Location of bombing that took place at a labor demonstration in support of workers striking for an eight-hour work day

14 Wartime Rosie representing the women who worked in factories and shipyards during World War II

15 This Los Angeles museum successfully unionized and signed their frst contract in 2018

17 This many hours for work for rest and for what you will

18 Karl Marx wrote ldquoWorkers of the world unite you have nothing to lose but your ______rdquo

24 IWW motto An Injury to One is an Injury to

Curated ASMR Playlists by Abby Atwood

In the past few years ASMR has become one of the most popular types of videos on the internet ASMR stands for Autonomous Sensory Meridian Response It is ldquoa feeling of well-being combined with a tingling sensation in the scalp and down the back of the neck as experienced by some people in response to a specifc gentle stimulus often a particular soundrdquo Many people rave about the benefts of ASMR from helping them sleep to calming them down during a panic attack

I myself discovered ASMR during my frst year of Graduate school I was having difculty falling asleep at night due to stress As soon as I started watching I was more relaxed and had an easier time falling asleep During this pandemic many museum professionals are working from home and normal avenues of stress relief such as going outside and hanging out with friends are no longer available to us It is vital that we care for ourselves during this time

I have curated some playlists of ASMR videos that have greatly helped me during stressful situations and I hope they can help you too

Powder Crumbling Soap

Powder Shaving Create Your Own

May Day Flower Origami By Abby Foss

Why Flowers May Day in its most basic form is a celebration for the coming and return of springtime This particular festival is thought to have ancient origins and practices but todayrsquos current traditions include gathering fowers and wrapping ribbons around the Maypole Unfortunately May Day does not have a strong tradition in America due to its ldquopaganrdquo origins which caused it to be forbidden by the Puritans Nevertheless it is also important to note that in its modern context May Day is strongly associated with labor and workerrsquos rights around the world Labor movements cemented their connection to May Day during the turn of the 20th century due to the events of the Haymarket Afair (aka the Haymarket Riots) This event started as a nationwide strike for an 8-hour workday on May 1 1886 and culminated in riots bombings and the hanging of four leaders of the protests in Chicago Albert Parsons August Spies

George Engel and Adolph Fischer Flowers themselves have also appeared as symbols for various diferent movements like ldquoBread and Rosesrdquo which has been used by multiple diferent groups and activists but might be most well known for its connection to the Lawrence Textile Strike in Lawrence Massachusetts In this instance roses were used to signify the workersrsquo demand for respect as well as fair wages and working conditions In fact this strike is best known as the ldquoBread and Rose Strikerdquo which began on January 11 1912 after workers found that their wages had been cut without notice This movement was not only successful but was a movement largely run by female workers and represented multiple diferent ethnic communities most of which came from south and eastern Europe Perhaps for our current era of activism we could stand behind the Black-eyed Susan a fower that symbolizes justice

Feel free to cut out a square of this Dafodil pattern

Lily (harder)

Squash fold repeat on every side

Petal fold pull bottomup to top and fold

Repeat onevery side

Ppull flap downwards repeat 3x

Pull flap down to createpetal curl and repeat 3x

Why Daffodils These fowers bear multiple meanings from ldquomisfortunerdquo and ldquoself-loverdquo to ldquorebirthrdquo and ldquojoyrdquo depending on the color and number of fowers a person is given Dafodils also often represent Spring itself as they are some of the frst fowers to bloom Moreover yellow dafodils in particular are associated with rebirth and new beginnings and therefore dafodils can also symbolize change In contrast ldquodafodilrdquo is the common name for a Narcissus fower named after the Greek mythological fgure who fell in love with himself that he was cursed for his selfshness Therefore while a single dafodil can symbolize bad luck multiple dafodils are meant to bring cheer and good fortune as if to suggest that happiness changes for the better cannot happen alone

Why Lilies While these fowers also have a close association to themes of ldquohoperdquo and ldquobirthrdquo the lilyrsquos symbolism is most closly connected to the idea of ldquopurity and ldquoinnocencerdquo Confusingly other fowers like the water lily or lily-of-the-valley also bear the name ldquolilyrdquo and share some symbolic meanings like rebirth or prosperity respectively however they are not true lilies scientifcally Like dafodils lilies can also symbolize joy and happiness if a person sends yellow lilies specifcally and both fowers also have a history of signifying wealth and sucess As an added bonus yellow lilies also represent good health and healing a particularly important message that a person may want to send during this time

8-petal flower (easier)

Fold paper along creasesto make a square

Repeat this and previousstep on every side

Rotate 180 degrees fold in

Slowly peel out petals

Creative Prompts By Mallery Lutey

In a situation where we are all spending more time with ourselves the prompts below are designed to inspire refection and creativity No rules No restrictions No right or wrong Just a space of your own to be free

And the award for the most accessible and inclusive museum goes to

Take time today to do something that makes you feel good Then write down details of what you did and how you feel afterwards so you can remind yourself to do it more often

Write down ALL of the words and feelings that come to mind when you think about your experience working at your museum

Write down all the names of people who you think deserve some recognition and appreciation today

Make a promise to yourself or someone else - a promise Recreate your favorite artwork - in your own style you know you can keep Believe in your own truth

Design and sketch your own exhibition wall

Brainstorm ideas of things anything - from policy to pay - yoursquod like to see change in your museum when you get back to work Write a haiku about your museum experience

Make a list of all the Create a playlist that will street names you take to help get you through your get to your local museum work day a little easier

Who We Are June Ahn is a second year graduate student in the MUSE program During this semester she helped facilitate the Public Engagement seminar and oversaw the design for this publication She received a BA in biological sciences from Smith College and has worked at laboratories at the Royal Botanic Garden in Kew and the University of Chicago Her work primarily focuses on creating informal plant education opportunities Please visit juneahnme to learn more

Abby Atwood is a 2nd year Graduate student in the Museum and Exhibition Studies Program at UIC She has been volunteering at museums and galleries since she was 12 years old She has been involved with planning and creating multiple exhibits over those years Her Graduate Capstone project was the creation of a digital archive documenting the stories of volunteers at the Economy Shop a charity thrift store in Oak Park that has been running for over 100 years

Anika Bierig is an educator in Chicago completing her Masters in Education at UIC Her academic interests include culturally-responsive programming and critical literacy exploring and exposing the power structures inherent in language and the public sphere including museums Anika is currently a Program Manager at the literacy non-proft Open Books serving students within Chicago Public Schools In a past life Anika was also a labor organizer and feels particularly excited to share this piece with the world She hopes the publication lifts up workers wherever it reaches them

Abby Foss is a frst-year graduate student in the UIC MUSE program who is currently working as a graduate research assistant for public programming and community engagement at Gallery 400 in UIC She has always had an interest in people and culture and her current research surrounds the complexities of identity heritage and adoption She has also just started freeform crocheting an afghan to pass the time stuck in COVID-19 isolation please wish her luck

Jojo Galvan UICrsquos own resident man in black Jojo is a student in the MUSE program at UIC He graduated from North Central College with a BA in history and a minor in religious studies As a cultural worker hersquos equal parts historianfolklorist educator and archivist In his graduate studies hersquos exploring the connection between historic buildings displaced communities and informal networks of faith and support In his spare time he can be found with his camera writing horror stories and giving walking history tours from the heart of the city to its graveyards Hersquos currently the Archivist for the Midwest Nursing History Research Center

Ramsey Hoey is an MA candidate in the Museum and Exhibition Studies program at the University of Illinois at Chicago She graduated from the University of North Dakota with a BFA in Studio Art with minors in Art History and Graphic Design In her graduate studies she focuses on curatorial practice in Modern and Contemporary womenrsquos painting performance and installation Currently she is working toward creating a platform promoting community and dialogue for female-identifying people in the arts Ramsey is also the Curatorial Graduate Research Assistant for Gallery 400 and the Gallery Coordinator at the 5th Floor Gallery in Chicago

Hayden Hunt is a recent graduate of the Museum and Exhibition Studies masterrsquos program at the University of Illinois at Chicago He recently established Five by Ten Gallery an experimental exhibition space in Chicagorsquos West Loop neighborhood He was formerly the Assistant Curator of Heather James Fine Art an art gallery located in Palm Desert CA He has held internships at the Art Institute of Chicago and is passionate about art collecting and exhibition design

Hannah Landsman is a Chicago-based HR and arts administrator with varied experience in libraries higher education and the arts She has worked at Gallery 400 the Chicago History Museum and the Museum of Contemporary Art in Chicago and at Elizabeth Leach Gallery in Portland Ore She is a frst-year graduate student in the Museum and Exhibition Studies program at UIC where she previously earned her BA in Art History She also serves as a staf administrator in the College of Liberal Arts and Sciences at UIC

Amanda Lautermilch (MA Museum Studies BFA Acting) is a PhD Student in Disability Studies at UIC Her research is focused on Cripping Curation the act of approaching curation (and artistic direction more generally) with a Disability StudiesJustice perspective and exploring how intercategorical intersectionality as an analytical framework can impact downstream issues of representation access and inclusion in art and cultural spaces She is an associate director for the upcoming 2021 Bodies of Work Disability Arts and Culture Festival which is accepting proposals through June 30th 2020 For more information visit httptinyccBOWfest2021

Mallery Lutey is a 2nd year graduate student in the Museum and Exhibition Studies program at the University of Illinois Chicago Registrar Assistant at the Field Museum of Natural History and Teaching Assistant for an undergraduate Bioanthropology course She graduated with her BA in Anthropology from UIC and has previously studied at Museo Contisuyo in Moquegua Peru as a feld archaeologist artifact analyst and steward of collections care and processing Her current research works towards promoting transparency and accessibility to cultural material through digitization and community collaboration

Megan Moran (MA Museum amp Exhibition Studies 2019) is a Chicago-based museum educator and arts administrator Her graduate research focused on developing a critical social-emotional learning framework for the context of art museum teaching She has worked in education and public programming at the Frye Art Museum in Seattle WA the Museum of Contemporary Art Chicago the Jane Addams Hull-House Museum Alphawood Gallery Gallery 400 at UIC and most recently the 2019 edition of the Chicago Architecture Biennial Megan is currently the Interim Marketing Coordinator at Hubbard Street Dance Chicago If you would like to dialogue about any of the points raised in this article please feel free to reach out meganmoran23gmailcom

Onyx Montes was raised in Mexico and moved to Seattle by herself at the age of 17 She attended the University of Washington where she majored in Art History with a minor in Women Studies She is currently pursuing her MA in Museum and Exhibition Studies at UIC and is part of the inaugural Arts amp Culture Leaders of Color Fellowship by Americans for the Arts Upon graduating from the University of Washington Onyx taught an art history workshop for incarcerated women at two diferent Mexican penitentiaries She is an avid reader and well traveled with 19 countries and counting

Sidney Murphy is a University of Illinois Chicago MUSE graduate student and former WSU Coug Her focuses are educational museum programming as well as social justice-based initiatives Her biggest success as a cultural worker thus far was her Black History Month Celebration at the Jordan Schnitzer Museum of Art This event connected to an exhibition she helped with featuring 4 internationally renowned artists Wangechi Mutu Leonardo Drew Mark Bradford and Julie Mehretu She takes pride in her work and fghts for the representation of others

Laura Sato is a frst-year graduate student studying Museum and Exhibition Studies at UIC She graduated from Agnes Scott College in May of 2019 with a BA in Art History and Womenrsquos Gender and Sexuality Studies Her graduate research focuses on accessibility museum education and exhibition design Laura hopes to create space in art museums for underrepresented and marginalized communities She is currently a Graduate Research Assistant in the Global Asian Studies department at UIC researching Uptown Chicago

Quinton Sledge is a frst year MUSE student restaurant worker and a former Abraham Lincoln impersonator He is currently the acting Publication Coordinator for Fwd Museums a yearly journal produced by the MUSE program and published by Stepsister Press He is originally from Mount Vernon Illinois and currently lives in Bucktown Chicago Illinois

Rose Waniak Originally from South Brunswick New Jersey Rosie Waniak is a frst-year MUSE student at UIC with a bachelorrsquos degree in Art History and English from Loyola University Maryland Drawing inspiration from her passion for community service and social justice her research is primarily focused on inclusive collaborative and community-centered museum programming initiatives She currently teaches ESL to adult English language learners and enjoys reading running and hiking in her free time

Works Cited Labor Leader Trading Cards - Amanda Lautermilch

About Jane Addams (nd) Retrieved from httpswwwhullhousemuseumorgabout-jane-addams

Al-Mohamed D (2016 February 10) Black Disability History Brad Lomax Black Panther ndash Revolutionary Black Nationalism and Disability Power Retrieved from http leadonnetworkorgwordpress20160209black-disability-history-brad-lomax-black-panther-revolutionary-black-nationalism-and-disability-power

Autry T amp Murawski M (nd) La Tanya Autry and Mike Murawski ndash Panorama Journal of the Association of Historians of American Art Retrieved from httpseditionslibumnedupanoramaarticlemuseums-are-not-neutral

Biography (nd) Retrieved from httpwwwamandacachia combiography

Ceacutesar Chaacutevez AFL-CIO (nd) Retrieved from httpsafcioorgabouthistorylabor-history-people cesar-chavez

Mother Jones AFL-CIO (nd) Retrieved from httpsafcioorgabouthistorylabor-history-people mother-jones

Pauline Newman (nd) Retrieved from httpswwwqueerportraitscombionewman

Porchia Moore Adjunct Faculty (nd) Retrieved from httpsadvancedjhueduabout-usfacultyporchia-moore

Schweik S (nd) Lomaxrsquos Matrix Disability Solidarity and the Black Power of 504 Retrieved from httpsdsq-sds orgarticleview13711539

Know Your Rights American Labor Law 101 for

Museum Workers - Hannah Landsman

National Labor Relations Act (1935) httpswwwnlrbgovguidancekey-reference-materials national-labor-relations-act

Fair Labor Standards Act (1938) httpswwwdolgovagencieswhdfsa

Title VII of the Civil Rights Act of 1964 Equal Employment Opportunity

httpswwwdolgovagenciesoasamcenters-ofces civil-rights-centerstatutestitle-vii-civil-rights-act-of-1964

Age Discrimination in Employment Act (1967) httpswwwdolgovgeneraltopicdiscriminationagedisc

Occupational Health and Safety Act (1970) httpswwwoshagovlaws-regsoshactcompleteoshact

Pregnancy Discrimination Act (1978) httpswwweeocgovlawsstatutesepacfm

Title I of the Americans with Disabilities Act (1990) httpswwwadagov

Family Medical Leave Act (1993) httpswwwdolgovagencieswhdfmla

Lily Ledbetter Fair Pay Act (2009) httpswwweeocgoveeocpublicationsbrochure-equal_ pay_and_ledbetter_actcfm

Families First Coronavirus Response Act (2020) httpswwwcongressgovbill116th-congresshouse-bill6201

Untitled

fifteen years in various cities across the USA England

Organizer

cowardly to fight I will fight she told them

Movement and without his efforts the 504 SitIn would have collapsed

to reconsider our institutions and envision what we want from them

New York secretary of state even though women did not yet have the

FT 5 12

36 20 FT

45 PT

905 AM Apr 4 2020

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that have shaped our country and our collective rights

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who was a teacher organizer and cofounder of the IWW

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